Gsus2 Piano Chord

Piano Diagram of Gsus2 in Root Position

The Gsus2 chord consists of three notes: G, A, and D. This chord is known as a suspended second chord, where the third note of the chord is replaced by a major second. To play the Gsus2 chord on a piano, simply replace the third note of a G major chord (B) with the major second (A). Keep reading to get a better grip on the music theory behind this chord.

 

 

Fingers Position

 

Gsus2 Chord Inversions

 

The Gsus2 chord has a total of 2 inversions:

 Piano Keyboard Diagrams

 

Gsus2 Chord Equivalencies

An interesting detail about sus2 chords is that their 2nd inversion results in a sus4 chord. To clarify, when the 5th note of a sus2 chord becomes the root note, it transforms into a sus4 chord.

2nd Inversion of Gsus2 = Dsus4

For instance, if we take the Gsus2 chord with the notes G, A, and D and rearrange them so that D becomes the root note, we end up with a Dsus4 chord with the notes D, G, and A. Therefore, the 2nd inversion of Gsus2 is equivalent to Dsus4.

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Music Theory and Harmony of Gsus2

 

What are Suspended  Chords?

In suspended chords, the third note is replaced by either a major second or a perfect fourth. The resulting chords are called suspended second (sus2) or suspended fourth (sus4) chords, respectively. These chords create a unique and sometimes unresolved sound that can add tension and interest to a musical composition.

Suspended chords have a distinctive sound that sets them apart from major and minor chords. They are so-called because they temporarily suspend the listener’s expectation of hearing a major or minor stable chord. Instead, they feature a perfect fourth or major second interval in place of the third. Due to their “neutral nature”, suspended chords can sometimes be used as substitutes for both, major and minor chords.

 

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Building the Gsus2 Chord: Different Approaches

Starting from the G major Scale

To build a sus2 chord, you can use the major scale as a guide and combine a root note, a major 2nd interval, and a perfect 5th interval. For example, to form a Gsus2 chord, you can begin with the G major scale, which includes the notes G, A, B, C, D, E, and F#.

 

 

 

To create a Gsus2 chord, apply the formula R, 2, 5 in the following manner:

1. Begin with the Root note, which is G.
2. Select the major 2nd interval, which is A, and add it to the chord.
3. Finally, add the 5th interval, which is D.

By following this simple formula, you can create a sus2 chord from any major scale.

 

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by Combining Intervals

One method to create a suspended 2nd chord is by combining two specific intervals – a major 2nd, and a perfect 4th.

2 + 4 = sus2 Chords

To illustrate, let’s use the Gsus2 chord as an example. By examining the intervals between the notes, we can see that G-A forms a major 2nd interval (a whole tone), and A-D creates a perfect 4th interval.

 

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How to Use Gsus2 in a Chord Progression

 

Suspended second (sus2) chords are neither major nor minor, making them a great option to create tension and suspense before resolving to major and minor chords.

The tables below show the harmonization of major and relative natural minor scales for keys that include G major (including G7 chords) and G minor chords in various positions and different harmonic roles.

 

Gsus2 as Substitute of G Maj Chords

on Major Scales

• Tonic chord in G Major
• Subdominant chord in D Major
• Dominant chord in C Major

 

on Natural minor Scales

• Mediant chord in E minor
• Submediant chord in B minor
• Leading tone chord in A minor

 

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Gsus2 as Substitute of G min Chords

In the key of Eb Major and C minor, the note A can clash with the Ab and Bb notes that are present in those keys. While this doesn’t prevent you from using the Gsus2 chord in those positions, it’s important to be aware that it can create a strong dissonance with the melody or other elements of the composition.

on Major Scales

• Supertonic chord in F Major
• Non Diatonic Mediant chord in Eb Major
• Submediant chord in Bb Major

 

on Natural minor Scales

• Tonic chord in G minor
• Subdominant chord in D minor
• Non Diatonic Dominant chord in C minor

 

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Gsus2 Chord Function in Major and Minor Keys

Understanding Scale Degrees

When creating chords from a scale, each note in the scale is assigned a degree, which reflects its position in the scale. In the diatonic major scale, there are seven degrees, and each degree has a unique role in the overall harmony of the scale.

1. The first degree of the scale is called the Tonic, and it serves as the foundation for the scale. It provides a stable tonal center and is often referred to as the “home base” of the music.
2. The second degree of the scale is called the Supertonic. It’s typically used as a passing note between the tonic and other scale degrees, and it adds a sense of movement to the melody or harmony.
3. The third degree of the scale is called the Mediant. It’s located halfway between the tonic and dominant notes and helps to establish whether the scale is major or minor.
4. The fourth degree of the scale is called the Subdominant. It’s often used as a complementary harmony to the dominant and adds a sense of tension and resolution to the music.
5. The fifth degree of the scale is called the Dominant. It generates tension and a sense of expectation, and it’s typically resolved by returning to the tonic.
6. The sixth degree of the scale is called the Submediant. It’s often utilized as a transition between the dominant and tonic, and it provides a sense of stability and restfulness to the music.
7. The seventh degree of the scale is called the Leading tone. It’s located one half step below the tonic and produces a strong sense of tension and a desire to resolve to the tonic. It’s often used to create a sense of resolution and finality in the melody or harmony.

 

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Gsus2 in G Major

The Gsus2 chord can be used along with the G Maj7 chord (or any other kind of G major chord) on the first degree to create movement in a chord progression. The Gsus2 chord can suspend the G Major chord or the subsequent chord.

 

Gsus2 Chord Progressions as I degree

ii V I

I IV V

 

 I V vi IV

 

I IV vi V

 

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Gsus2 in D Major

Let’s find out how the Gsus2 chord sounds in the D major key as a substitution or variation of the G Maj7 chord on the IV degree.

 

Gsus2 Chord Progressions as IV degree

I IV V

 

 I V vi IV

 

I IV vi V

 

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Gsus2 in C Major

In the key of C Major, the fifth degree it features a G7 chord. Adding a Gsus2 chord can create tension and expectation, leading to a resolution on the dominant chord.

 

Gsus2 as V degree – Chord Progressions

ii V I

 

I IV V

 

 I V vi IV

 

I IV vi V

 

 I IV ii V iii vi ii V

 

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Gsus2 in E Minor

Try experimenting with chord progressions featuring a G Maj7 on the III degree of the E minor key, and try playing a Gsus2 before or after the G Maj7 to see how it sounds.

 

Gsus2 Chord Progressions as III degree

i III

 

i III VII VI

 

i III iv v

 

i III ii v

 

I iii vi V

 

Circle Progression

 

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Gsus2 in B Minor

In the key of B minor, the VI degree chord is a G major chord. You can use a Gsus2 chord as a variation or substitution of this chord. Try using the Gsus2 chord before or after the G major chord in your chord progressions to add interest and variation.

 

Gsus2 Chord Progressions as VI degree

i VI VII

 

i v VI VII

 

i III VII VI

 

Circle Progression

 

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Gsus2 in A Minor

Let’s explore the use of Gsus2 as a leading tone chord in the key of A minor. As the leading tone chord, Gsus2 can create tension and lead the listener’s ear to the tonic chord, which is A minor in this case.

 

Gsus2 as VII degree – Chord Progressions

i VI VII

 

i v VI VII

 

i III VII VI

 

Circle Progression

 

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Gsus2 in F Major

In the key of F Major, the supertonic chord is a G minor. However, we can use a Gsus2 chord as a variation or substitution for the Gm chord to add some tonal color to a chord progression.

 

Gsus2 Chord Progressions as ii degree

ii V I

 

I IV ii V iii vi ii V

 

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Gsus2 in Eb Major (Non diatonic)

In the key of Eb Major, the Gsus2 chord can be used as a non-diatonic substitution for the G minor chord on the III degree, adding a different tonal color to the progression. However, it’s important to be aware that the Gsus2 chord contains an A that could clash with the Ab or the Bb present in the Eb Major scale.

 

Gsus2 Chord Progressions as iii degree

I iii IV V

 

I iii ii V

 

I iii vi IV

 

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Gsus2 in Bb Major

Let’s explore how the Gsus2 chord can function as a submediant chord in the key of Bb major. You can try incorporating it into chord progressions that feature a Gm chord on the VI degree.

 

Gsus2 as vi degree – Chord Progressions

I iii vi V

 

I vi ii V

 

I IV ii V iii vi ii V

 

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Gsus2 in G Minor

When using the Gsus2 chord in the key of G minor, it can be a variation of the traditional Gm chord. It creates a more ambiguous sound due to its suspended nature, but it can be used to add tension to a chord progression.

 

Gsus2 Chord Progressions as i degree

i VI VII

 

Chromatic modulation

 

i iv VI VII

 

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Gsus2 in D Minor

In the D minor key, the IV degree is G major, which can be replaced or varied by a Gsus2 chord.

 

Gsus2 Chord Progressions as iv degree

iv III VI VII

 

i iv VI v

 

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Gsus2 in C Minor (Non Diatonic)

As an alternative or substitution for the v degree chord (G minor) in the key of C minor, you may use a Gsus2 chord. However, note that the Gsus2 chord is non-diatonic in this key due to the presence of A, while the C minor scale includes an Ab and a Bb. Therefore, it’s generally advisable to avoid using the Gsus2 chord in this context, but don’t hesitate to experiment and see how it sounds to your liking.

 

Gsus2 as v degree – Chord Progressions

i iv VI v

 

i v VI VII

 

i VI v iv

 

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Alternative Names for Gsus2 Chord

• Gsus²
• Gsus⁽²⁾
• G add2(no3)
• G add2(omit3)
• G Suspended 2nd

 

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Conclusion

While the chord progressions and examples in this post offer a comprehensive overview of common uses for the Gsus2 chord, space constraints prevent a full exploration of advanced harmony topics. These include chord progressions based on scales, modal interchange, and jazz harmony. However, readers are encouraged to continue their studies to gain a deeper understanding of the harmonic possibilities beyond the basics presented here.

I hope this post has been informative and helpful in your music theory journey. Keep exploring and creating music, and don’t forget to have some fun along the way!